Just then Lalita Sakhi was coming to see Radhika.  "Mother, what is the matter?" asked Lalita. Jatila told her everything. Lalita was delighted at the wonderful opportunity presenting itself. "Yes," said Lalita, "I know someone who knows the proper mantras to counteract the spell and your cow will soon give milk again." Jatila asked, Who is that?"  "Nanda Baba's son, Krishna," replied Lalita.  

Jatila's eyes rolled and she cried, "Alas!  If this boy Krishna comes to our house, the family will be ruined."

"Don't you remember?" asked Lalita, "Krishna saved us by holding Govardhan parvat on his little finger, and by killing the demoness Putana and others.  The boy is a wonder.  He can surely cure your cow." 

"I don't think so.  Everyone agrees Narayana manifested himself in Krishna, and that's how he did all those things."

"No, that's not the truth. He did all those things on his own."

Jatila became quiet.  "Well... if we don't call him, then the spell will not be lifted, and the cow will not give milk.  Ok then, let us call him.  Where is he?"

"One may search day and night without finding him.  Instead, you should call his name.  If you call his name again and again he will surely come."

"Not possible!  If I call the name of Krishna aloud our whole dynasty will be shamed.  How can I do this?"

"No need, you can say it softly."

With an uneasy heart Jatila began to repeat softly, "Krishna Krishna Krishna Krishna Krishna Krishna...", but Krishna didn't appear.  Then she said, "Oh, how will Krishna hear if I speak so softly.  What the heck? Let me speak it aloud... KRISHNA KRISHNA KRISHNA KRISHNA KRISHNA KRISHNA..." after a minute Jatila's feet began to move.  Her body swayed to and fro, and her arms rose into the air.  "What is this, Lalita!  I am an old lady, but Krishna's name is making me dance like anything!  KRISHNA KRISHNA KRISHNA KRISHNA KRISHNA!!"  

Just then Krishna arrived, dressed in his enchanting cowherding outfit, adorned with sandal paste and mineral pigments, with a turban on his head fitted with a peacock's tailfeather and a flute in his belt.  When the hard-hearted old lady Jatila saw him, her hard old heart melted.  She thought, "What is this?  I am an old lady, but this Krishna is enchanting my heart.  If he is this attractive, then how can I blame my Radha for being enchanted by him as well?"

"Old lady, what is the trouble?  Why did you call me here?" asked Krishna.  Lalita explained everything.  Krishna caressed the cow and looked into her eyes.  "No spell has been placed on this cow.  Just bring the calf here and let it drink.  Then pull the calf away and milk the cow as usual.  There will be no problem."  Lalita brought the calf and let it drink.  Jatila tried to pull the calf away, but the calf was strong and she lost her balance.  Jatila fell down, and the calf fell on her chest. (Which signifies that if one tries to obstruct someones bhakti they will get punished). Lalita and Krishna helped her to stand up.  

"You call Radha here," Jatila said to Lalita.  "Together you three youngsters can handle the calf."  Radha came and the three of them pulled away the calf and tied it.  Then Krishna began to milk the cow.  After one bucket was filled, Lalita suggested that Jatila take the bucket inside (so that Radha and Krishna could talk to each other).  Jatila said, "No, my back aches.  Radha you take the bucket inside.  While you are there, bring some sugar crystals in a pot to mix with fresh milk.  Then, you take Krishna to your room and feed him the milk, sweets, and whatever he likes.  Make him happy.  I am going now to see Kutila.  I will get her to massage my aching back with oil."

Then Jatila left, and Lalita took Radha and Krishna into Jatila's house. That day, Radha served Krishna in her own room to her heart's content.  The sakhis chided Radha from outside the latticed windows.  "O Radhey! Every night you meet Krishna in some kunja or another, but today you are so audaciou that you are enjoying with Krishna in your own room at midday, and by Jatila's orders on top of it!  How amazing!"

(From lila-kirtan that was performed the other day at Radha-Binod Mandir in Radha Kund)

Religion is something divine for many of the people living on the planet earth and that is why Marx called it the opium of the masses. India is no exception where most of us are more or less religious whether we work as scientists or pull a rickshaw (though in recent years there has been a spurt in religious fundamentalism all over the world). India being the cradle of various religions has been a bastion and source of Hinduism since times immemorial. Like all other religions whether old or new, places inhabit significant place in Hindu belief system. I remember my grandmother telling me of my great grandmother last wishes to cross the bridge to the other world in Kashi (modern day Varanasi) or Mathura. Probably Kashi and Mathura are sacred places every devout Hindu person would like to visit once in life. My great grandmother did her part and lived in Kashi for more than 6 months before she died on the banks of river Ganga. My mother tells me that this was just few months before I arrived into this world.

I never had the calling or the chance to visit any of these places till I made that train journey from Delhi. It was a wintery morning of 2007 in Taj express train from Delhi going back to Agra where I had my first tete-a-tete with some unusual Krishna devotees. These devotees clad in white Sarees and Dhotis together with sacred mark of sandalwood paste on their foreheads were going to Mathura and were mostly from outside India (mostly from Europe, Latin America and Australia). One of them offered me a book on Krishna for which I contributed some money. In the meanwhile I told them that professionally I am a linguist learning to specialize in teaching Hindi as a second or foreign language. We exchanged emails addresses and soon they left for their destination with the arrival of vendors of Brijvaasi PeRaa (a famous brand of sweets made from milk) at Mathura railway junction. Mathura being the land of lord Krishna is a corner occupying a mystical place among Krishna devotees from around the world. Moreover Mathura district in the Indian state of Uttar Pradesh is home to various places associated with lord Krishna like Vrindavan, Govardhan, Barsana, Gokul, Mahaban,Nandgaon etc.

Months passed and I almost forgot about that encounter and visiting Mathura appeared least in my thoughts. But on one good day of January 2008, I received an email from one of the devotees asking me to come to Vrindavan to teach Hindi to some of the Krishna devotees from abroad staying there. I accepted the offer. In February we arranged for the first class of Hindi at Vrindavan. I had never been to Vrindavan before, therefore my anxiety was evident. I took the UP roadways bus to Mathura from Agra and embarked on a very different sort of pilgrimage.

After a ride of around 45 minutes, our bus reached the gates of India’s one of the oldest and biggest oil refineries i.e. Mathura Oil Refinery. The huge flame burning at the top of the chimney of the refinery welcomed us to the birth place of Krishna. Nearby I could spot a gigantic drive-in McDonald outlet for our Burger hungry Indian denizens. Another 15 minutes ride and we had reached Mathura new bus stand. What I saw was the usual hustle-bustle of any North Indian old town. The meaningless but beautiful chaos in order.

Legend tells us that how over 3000 years ago, the throne of Mathura was usurped by Krishana’s despotic uncle (Mama), Kansa. When Kansa came to know that he will be killed by the son of his sister Devaki, he sent Devaki and her husband Vasudev behind bars. Then he ordered the killing of every newborn baby in the city. However under the cover of darkness and a stormy night, Vasudev managed to smuggle the infant Krishna across the river Yamuna. And here I was standing at the same place where this legend was born.

I was told that by one of my fellow traveler in the bus that I could get shared auto-rickshaws going to Vrindavan from nearby. I managed to find one and started the destined journey to the Krishana’s legendry pastoral playground of Braj with 12 smaller forests together with Vrindavan described in eloquence by 16^th Century Bhakti saints such as Chaitanya and Vallabha. On the way I saw the over barricaded Shri Krishna Jnamsthana (Krishna birthplace complex) standing cheek by jowl to Shahi Masjid (a mosque built by Great Muslim ruler Aurangzeb).

Our overstuffed auto-rickshaw soon galloped outside Mathura city. I could see signs of a new and planned Mathura developing on the fringes with boldly displayed signboards of residential colonies like Radhapuram and Krishnapuram. I was relieved when I finally witnessed the vast but sparse expanse of forested land over the sides of the road where the mythical 12 forests once stood.

On the way I saw the huge red sandstone temple built by the industrialist Birla family, the Pagla Baba temple, the Vatslya gram complex and numerous shelters built for old, sick and abandoned cows.

We crossed a huge complex of Gayatri temple complex adorned by bold slogans written all over the boundary walls. The one which intrigued me the most was ‘sau hathon se kamao, hazar hathao se baanto’ (meaning ‘earn using 100 hands but distribute by using 1000 hands’). What a paradox! If one is earning by 100 means then it is certain that one is depriving many of their right share at the first place. A completely elitist statement.

Next in sight was Ramkrishana Mission complex standing tall with its hospital and temples. Our auto rickshaw soon came to halt at the autorickshaw stand of Vrindavan. I was left standing in the dusty little town of Vrindavan. I asked for the way to Sewakunj Street where I was summoned. After walking another 10 minutes I entered the real old and charming Vrindavan where bicycle rickshaws plied in narrow and shadowy by-lanes. This is the place where I heard people shouting Radhe-Radhe (the name of Krishna’s consort) to make way for their vehicles. I could hear chattering in Bengali and Brajbhasha all around with old and infirm old people walking slowly with their clay smeared foreheads with numerous monkeys overcrowding the rooftops.

The Bengal connection was evident. Founder of gauRiya Vaishnavism, Caitanaya Mahaprabhu (1486-1534) and his followers first advocated Bhakati-Yoga (Krishna consciousness) in Bengal (gauRa desh = present day West Bengal + Bangladesh) in 16^th century and later ‘rediscovered’ the geographical features and boundaries of the holy area and identified it with “Braj”, Krishana’s legendry pastoral playground. They mapped out the sites of Krishna’s youthful adventures in Mathura,Vrindavan, Gokul, Mahaban etc, pinpointing 12 smaller forests, various woods and assorted lakes and ponds that he might have played in. Though nothing much remained of the ‘sacred sites’ in 16^th Century, knowing well that the area lay in between two great Mughal capitals of Delhi and Agra, they rejuvenated the mythical Braj area.

I was now walking in the street going to Sewa Kunj Gali, somehow feeling nostalgic about the place where my Great Grandfather Shri Ramdas Tiwari (1900-1991) built our ancestral house in Lohanipur of great town of Patliputra (modern day Patna) and lived till he left for his heavenly abode in 1991. I remember the street was narrow, shadowy, paved in stones and smelt the same. I kind of liked the smell of the drainage mixed with dingy-spicy air going in my nostrils cause it sent me to the memory lanes of my childhood summer vacations. The Sewa kunj Street was lined with small shops selling all sorts of things from paan leaves (betel leaves) to samosas (a popular Indian fried snack made with wheat flour and spiced boiled potatos).

A point of diversion: samosa is the word used for the above mentioned Indian snack in Northern India (i.e. Delhi, Western Uttar Pradesh, Rajasthan, Punjab, Himachal Pradesh, Uttarakhand etc) but as you go eastwards it will be better known as singhaRa. There is no doubt that eastern variety is better one especially cooked by expert cooks of Bengal. In fact I believe most of the popular Indian snacks (whether sweet or salted) have either originated in Bengal or Maarwar (Rajasthan). Of course snacks (Banana wafers, Muruku,papadam etc) from Southern India also rules over a large corner of our gastronomical desires. Indian food history is another area which is rather quite neglected.

To be continued

Here is what Cleveland Cultural Alliance (CCA) has to say in their website about the ballet they featured in 1994 .

"This was CCA's first production. CCA commissioned Sri Lalgudi Jayaraman to compose the music and the lyrics, and Shrimathi Radha to choreograph the ballet. This dance drama celebrated the omnipotence of Devi, or the female aspect of the Divinity. Each aspect of Devi was represented by a different dancer, all of whom were carefully chosen by CCA. Notable among them were Mahalakshmi as Uma, Anita Ratnam as Durga and Sreelatha Rajamoney as the female aspect of Ardhanareeswara. G. Narendra played the role of Shiva, and P.C.Ramakrishna in the role of Nandi provided the narrative links between the sequences. CCA undertook the entire production of this lyrical ballet as well as its N.American tour of 25 cities where it played to sold out audiences. "

The Ballet was recently revived and staged in Chennai.. This time the dancers were Meenakshi Srinivasan, Mythili Prakash, Kirti Ramgopal, Tara Raman, Preeti Hariharan, Vibhushitha Chandrasekaran, Shraddha Balasubramanian, N. Shyamala and Meera Srikant , J. Suryanarayanamurthy, S. Shivakumar, Binesh Mahadevan, with Yathin Agarwal and E.D. Venkatasubramanian.

Carnatic Darbar faetures a review of Jaya Jaya Devi that gives more details about the opera..Please read it here.

Links:

• The Copyright judgement: http://www.hindu.com/2008/02/27/stories/2008022752730400.htm
• CCA Website: http://www.thehorizons.com/cca/pastprod.htm
•  Jaya Jaya Devi- offical webiste- http://www.jayajayadevi.org/
• Carnatic darbar review- http://www.carnaticdarbar.com/News/200802/20081006.asp
• Jaya jaya devi's preview in The Hindu: http://www.hindu.com/fr/2008/10/03/stories/2008100351390400.htm

રુમઝુમ પગલે ચાલી

ગાયકઃ પરાગી પરમાર
કવિઃ ઝીણાભાઈ દેસાઈ- ' સ્નેહરશ્મિ '

આભારઃ સિધ્ધાર્થ ઝીણાભાઈ દેસાઈ

રુમઝુમ પગલે ચાલી , જો રાધે ગોપ દુલ્હારી (૨)
ગોપ દુલ્હારી રાધે ગોપ દુલ્હારી ..(૨)

ઊષાનું સિંદૂર સેંથે છલકે, ભાલે શશીની ટીલડી પલકે,
શરદની તારક ઓઢણી ઢળકે, અંગે શી મતવાલી,
જો રાધે ગોપ દુલ્હારી...

રુમઝુમ પગલે ચાલી , જો રાધે ગોપ દુલ્હારી

બંસી બત મુરલી કી ગાજે, કાન કુંવર પગ નુપુર બાજે,
ધેનુ -વૃંદો થૈ થૈ નાચે, નાચે વ્રજની નારી,
જો રાધે ગોપ દુલ્હારી...

રુમઝુમ પગલે ચાલી , જો રાધે ગોપ દુલ્હારી

કાલિંદીને તીરે એવી નીરખે દેવો, નીરખે દેવી,
નર્તન ઘેલી રાધા કેરી,(૨) નીલા (?) નારી..(૨)
જો રાધે ગોપ દુલ્હારી...

રુમઝુમ પગલે ચાલી , જો રાધે ગોપ દુલ્હારી

Today is Radhashtami. Many Gaudiya temples, especially ISKCON, will celebrate on the 7th because that's a Sunday and that fits in well with their traditional Sunday feast program. Radhashtami is Goddess Srimati Radharani's birthday celebration. She is also called Radhika or Radha or a host of other names.

In various sacred texts of Hinduism Sri Radhika is described as playing the part of Sri Krishna's main girlfriend in Vrindavan during Krishna's youthful pastimes before he left Vrindavan as a young man. The different Vaishnava traditions have differing perspectives on the true or inner identity of Sri Radha. Some see her as a manifestation of Goddess Lakshmi Devi, the consort of Narayana (Vishnu).

In Gaudiya Vaishnavism various devotees see her in various ways. Once Sri Chaitanya Mahaprabhu (the founder of Gaudiya Vaishnavism) asked one of his closest companions, Ramananda Raya, to speak on the ultimate goal of life. What followed was a condensed version of the totality of the teachings of Sri Chaitanya. Eventually in the conversation Ramananda started to speak on Krishna's pastimes with the gopis and Radha. Then Mahaprabhu said:

krsna-radha-tattva kahi' purna kara mana

Tell me the whole complete truth about Radha and Krishna

Ramananda then went on to describe Krishna as the supreme Isvara, the supreme lord and controller of everything and the cause of all causes, quoting from the Brahma Samhita. He then said he was going to teach about the position of Radha. But right before he said that he ended his description of Krishna with this:

āpana-mādhurye hare āpanāra mana
āpanā āpani cāhe karite ālińgana

āpana — own; mādhurye — by sweetness; hare — steals; āpanāra — His own; mana — mind; āpanā — Himself; āpani — He; cāhe — wants; karite — to do; ālińgana — embracing.

His [ Krishna's] sweetness is so attractive that it steals away His own mind. Thus even He wants to embrace Himself.

aparikalita-pūrvaḥ kaś camatkāra-kārī
sphurati mama garīyān eṣa mādhurya-pūraḥ
ayam aham api hanta prekṣya yaḿ lubdha-cetāḥ
sa-rabhasam upabhoktuḿ kāmaye rādhikeva

aparikalita-pūrvaḥ — not previously experienced; kaḥ — who; camatkāra-kārī — causing wonder; sphurati — manifests; mama — My; garīyān — more great; eṣaḥ — this; mādhurya-pūraḥ — abundance of sweetness; ayam — this; aham — I; api — even; hanta — alas; prekṣya — seeing; yam — which; lubdha-cetāḥ — My mind being bewildered; sa-rabhasam — impetuously; upabhoktum — to enjoy; kāmaye — desire; rādhikā iva — like Śrīmatī Rādhārāṇī.

(Upon seeing His own reflection in a bejeweled pillar of His Dvārakā palace, Kṛṣṇa desired to embrace it, saying): "Who manifests an abundance of sweetness greater than Mine, which has never been experienced before and which causes wonder to all? Alas, I Myself, My mind bewildered upon seeing this beauty, impetuously desire to enjoy it like Radhika"

Here we see Ramananda setting up what is to follow. In the metaphor Krishna is described as feeling lustful feelings when he caught a glimpse of himself off of a reflective mirror like pillar (those verses are included in Rupa Goswami's Lalita Madhava 91-92). His feelings towards his reflection were not brotherly; they were described as being like the kama, or the erotica, of Radhika. These specific slokas are meant as a preamble for Ramananda's description about the complete and total, purna, truth, tattva, of Radha. What follows is a beautiful description of Radha's ontological position, using poetic metaphor and direct theology. He explains that Krishna manifests his personal enjoying nature through his potency of enjoyment, called Hladini, as Sri Radhika.

krsnake ahlade, ta'te nama -- 'hladini'
sei sakti-dvare sukha asvade apani

krsnake -- unto Krsna; ahlade -- gives delight; ta'te -- therefore; nama -- the name; hladini -- pleasure-giving potency; sei sakti -- that potency; dvare -- by means of; sukha -- joy; asvade -- tastes; apani -- personally.

The potency called hladini gives Krsna delight, by it, personal joy is experienced.

sukha-rupa krsna kare sukha asvadana
bhakta-gane sukha dite 'hladini' -- karana

sukha-rupa -- embodiment of joy; krsna -- Krsna; kare -- does; sukha -- joy; asvadana -- tasting; bhakta-gane -- unto the devotees; sukha -- joy; dite -- to give; hladini -- the pleasure potency; karana -- the cause.

Krishna tastes and is the embodiment of joy. His pleasure potency gives and is the cause of joy to his devotees.

hladinira sara amsa, tara 'prema' nama
ananda-cinmaya-rasa premera akhyana

hladinira -- of this pleasure potency; sara -- essence; amsa -- part; tara -- its; prema -- love; nama -- name; ananda--ecstasy; cit-maya--cognitive; rasa -- taste; premera -- of love; akhyana -- the explanation.

The most essential part of this pleasure potency is called prema (love). Spiritual ecstasy is explained to be the taste of prema.

premera parama-sara 'mahabhava' jani
sei mahabhava-rupa radha-thakurani

premera -- of love; parama-sara -- the supreme essence; maha-bhava -- the great emotion; jani -- know; sei -- that; maha-bhava-rupa -- the form of the great emotion; radha-thakurani -- Srimati Radharani.

The quintessence of prema is known as great emotion. Radha is the embodiment of that great emotion.

premera 'svarupa-deha' -- prema-vibhavita
krsnera preyasi-srestha jagate vidita

premera -- of love; svarupa-deha -- appearence body; prema -- love; vibhavita -- caused to appear or arise; krsnera -- of Lord Krsna; preyasi -- of the dear friends; srestha -- best; jagate -- in this world; vidita -- known.

Appearing as the embodiment of prema, caused to appear by love, she is known in this world as the most beloved of Krishna.

sei mahabhava haya 'cintamani-sara'
krsna-vancha purna kare ei karya tanra

sei -- that; maha-bhava -- great emotion; haya -- is; cintamani -- wish fulfilling gem; sara -- essence ; krsna-vancha -- the desires of Krsna; purna -- complete; kare --does; ei -- this; karya -- business; tanra -- Her.

That great emotion of Srimati Radharani is the essence of cintamani. Her function is to complete Krishna’s desires.

The following is one of the first verses of the Chaitanya Charitamrita. It describes the ontological nature of Sri Chaitanya Mahaprabu, who would reveal the most intimate and ultimate truth of Radha Krishna:

radha krsna-pranaya-vikrtir hladini saktir asmad
ekatmanav api bhuvi pura deha-bhedam gatau tau
caitanyakhyam prakatam adhuna tad-dvayam caikyam aptam
radha-bhava-dyuti-suvalitam naumi krsna-svarupam

radha -- Srimati Radharani; krsna -- of Lord Krsna; pranaya -- romance; vikrtih -- the transformation; hladini saktih -- pleasure potency; asmat -- from this; eka-atmanau -- both the same in identity; api -- although; bhuvi -- on earth; pura -- formerly; deha-bhedam -- separate forms; gatau -- arrived; tau -- those two; caitanya-akhyam -- known as Sri Caitanya; prakatam -- manifest; adhuna -- now; tat-dvayam -- the two of Them; ca -- and; aikyam -- unity; aptam -- obtained; radha -- of Srimati Radharani; bhava -- emotion; dyuti -- splendour; su-valitam -- who is adorned with; naumi -- I offer my obeisances; krsna-svarupam -- appearing in the form of Krsna.

Radha Krishna's romance is a transformation of the pleasure potency. Although Radha and Krishna are one in their identity, formerly they arrived in two different forms on earth. Now that pair has united. I offer my obeisances to that manifestation known as Caitanya - appearing in the form of Krishna - with the emotional splendour of Srimati Radharani.

[dailymotion id=x2q6rs]

Radha Sarma

Welcome to radha-sarma.com. - Thank you for your Interests in my art work as ( Indian ) dancer and choreographer.

[ download English short Info as PDF ]

You can contact me directly via e-mail or visit my German website at Radha-Sarma.de .

Thank you so far. Soon then… Radha S.

]]> http://prakashanand0saraswati.wordpress.com/?p=146 Wed, 03 Sep 2008 04:40:52 +0000 prakashanand0saraswati http://prakashanand0saraswati.hi.wordpress.com/2008/09/03/radha-ashtmi-celebrations-at-barsana-dham/

(Above: Radha Rani Rath Yatra at JKP Barsana Dham)

JKP Barsana Dham is preparing a series of special Radha Ashtmi programs to be conducted at the San Jose and Fresno centres of JKP Barsana Dham.

The festivities will commence at the San Jose center (view map) on Sat., September 6th with chantings & bhajans of Radha Rani, followed by discourse, videos and arti. Following day, in Fresno (view map), there will be a devotional dance performance, live chanting and speech. A marvelously decorated jhula (swing) will be available for Radha Rani.

For information about the Fresno celebration call 559-325-2413, or call 408-826-8215 regarding the San Jose celebration; or visit http://www.jkpsanjose.org/

If you would like information about Radha Radha Ashtmi celebrations at your local JKP centre, see contact information at http://www.jkp.org/intl_programs/index.html

Welcome to radha-sarma.com. - Thank you for your Interests in my art work as ( Indian ) dancer and choreographer.

For a quick view feel free to download the English short Info as PDF .

You can contact me directly via e-mail or visit my German website at Radha-Sarma.de .

Thank you so far. Soon then... Radha S.

]]> http://shalincraft.wordpress.com/?p=100 Tue, 12 Aug 2008 07:34:00 +0000 Shalini Verma http://shalinworld.com/2008/08/12/mahabharata-the-second-great-epic-of-india/ Mahabharata was the Great War between Pandavas and Kauravas. Pandavas –the righteous five brothers and other were Kauravas-hundred cousin brothers of Pandavas. The Kauravas were the sons of the blind king Dhritarashtra and the Pandavas were the sons of Pandu, who died of a curse. The five brothers were always obedient and dutiful, which made them the most loved in the kingdom. This made the Kauravas hate them and they planned many ways to get rid of them.

Lord Krishna Statue

Lord Krishna is an incarnation of Lord Vishnu. He is a charioteer and sole advisor of Arjuna, one of Pandavas. Kauravas behaved brutally toward the Pandavas in many ways. In the game of dice Duryodhana, the son of Dhritarashtra wins all pandavas brothers and their common wife Draupadi. It causes a reason of battle against Kauravas. During the battle, the teachings of Lord Krishna to Arjuna were called the Bhagwad Gita. In this priceless scripture he taught him a lesson about passion of duty without any worry of its result. The pandavas won the battle against evil and ruled over Hastinapur.

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Lord Krishna

A mantra taken from Bhagvat Gita where Shree Krishna while addressing Arjuna says “ Whenever there is decay of righteousness, O! Bharata and a rise of unrighteousness, then I will manifest myself”. And so did He.

Lord Vishnu

The birth anniversary of Lord Krishna, another incarnation of Lord Vishnu, on the eighth day of the waning moon in Bhadra. Krishna was born in the dead of a stormy night while His parents were interned by the cruel king of the land. He wanted to kill the new-born babe, for he had reasons to believe that the child would cause him harm. Around the time the child was born, all the guards went into a deep sleep, the fetters and the doorlocks fell off by a spell of magic, and the father rescued the baby, bearing Lord Krishna to a safe place across the river. A serpent covered the child with its hood, as if with an umbrella. The story of Krishna, who stands for justice and love, is contained in the Mahabharata, as well as in the Bhagavatam. It is customary to recite the story of His birth and also His playful boyhood on the occasion. People feel the presence of Krishna -the divine boy in their own children.

Radha and Krishna Sculpture

The word 'Krishna' means black. As we can see in this section, the colour signifies that the lord is not a physical being, but has a transcendental nature instead, above all manifestations of colours. According to Sri Ramakrishna, the famous Hindu mystic of the nineteenth century, Lord Krishna is black so long as we view Him from a distance. He has a permanent place in our hearts, bearing a more intimate and direct relation than any object of visual perception has with us.

The Lord Krishna keeps on sending His enchanting and beckoning notes to us on the Flute even as we suffer, oblivious to His (God Krishna) inner presence. The rhythm and beauty of life, however, are restored once we are aware of this sustaining presence. The awareness comes with the realization that we are ourselves the flute He has chosen as His instrument for divine aesthetic expression. While playing the instruments that we human beings are, He exhales His breath into us which is the breath of life. According to Lahiri Mahashaya, another great Hindu mystic of the nineteenth century, the Lord's playing on His flute signifies the yogic technique, of breath control following which the aspirant attains divine realization, passing through six spiritual stages as indicated by the six holes in the flute.

The standing posture of the Lord Krishna itself depicts a superb rhythm showing the body bent at three places with the ecstasy of love. His crown has a peacock feather on the top, the circle in the middle of which stands for the third eye, also known as the spiritual eye. It is with this spiritual eye that He casts His glance of divine love on us. The whole mood is of a friend we must strive to relate to in all trust in expectation of His pure and loving company.

Another depiction of the deity is in the form of a little boy (the Bala Gopala or Gopal Krishna) who is longing for our affection with His outstretched right hand. The asking is spontaneous, and the giving has to be spontaneous and unconditional too. Spiritual life consists either in the cultivation of friendship with, or affection for the deity, depending on the aspirant's dominant psychological disposition. The devotee is expected to sublimate his feelings and emotions in building a relation with the deity through the veneration of the icon.